Movable stationery

8/07

Creative Use of Inserts and Fold-outs

The Crime Dossiers of
Dennis Wheatley and J. G. Links

Corrie Allegro
Melbourne, Australia

The 1930s in England saw a short-lived publishing
phenomenon that created a genre of books that could
be read and played with and which today can be seen
in varied formats of movable books with three-
dimensional interactive elements.

Over three years, four murder mysteries were
published, not a narrative novel approach, but "real"
police dossiers to be read as case files. A brief
biographical sketch of the two originators will paint a
fascinating background to these exciting compilations.

Born in London in 1897, Dennis Wheatley served
as a young soldier in WW1 and afterwards joined the
family wine business, heading it from 1926. At that time
he attempted writing short stories and novels and this skill
saved him from total ruin after the wine company
collapsed in the early '30s. After initial setbacks with his
first book, his thrillers, horror, occult, and crime stories,
totaling over 60 books became international bestsellers,
and it was only in the late 1970s that his popularity
declined. At the time of his death in 1977 it was estimated
that over 50 million copies of his books had been sold
worldwide. And in that four-year window in the '30s he
created, with J. G. Links, a concept that has been imitated
but never surpassed in its originality and freshness.

JO." THOUSAND

DENNIS

WHEATLEY

• — ~—

Wheatley' s partner in
crime, during their three-year
collaboration, was born in
England in 1904 and
christened "Joe" but became
known as J. G. Links. He left
school early on the death of his
father to run the family fur
business and later held the
Royal Warrant as Furrier to
the Queen! He was an
sportsman, and the writer of a best selling
Venice, but his long friendship with

MURDER
OFF MIAMI

7

adventurer,

travel book on

Wheatley sparked the idea that while most crime novels

were full of dense prose, what would happen when you

strip it down to the essential elements?

Continued on page 9

Volume 15 | Number 3

Jack-in-the-books
A Provisional Survey

Theo Gielen
The Netherlands

The type of books discussed in
this contribution do not have a name.
Although there have been several -
more or less successful - attempts
made to classify the many different
kinds of movable, novelty, and pop-
up books during the last 10 or 15
years, this is one type of movable
book that appears to have been
completely neglected by the
historians in the field until now. ' It is
a rather small section within the
masses of movables, but they have
popped up from time to time
throughout the 20th century. They

flourished in the 1950s and surely deserve to get some

special attention.

The only reference I have found to them in the literature
is a two line lemma in Ellen Rubin's "The Abecedarian of
My Favorite Things," where she, under "C" of her personal
alphabet of favorites writes:

Clothing is represented by several Bonnie Books
(Jack-in-the-book series) in which a person or
animal's head and legs unfold around a grommet
and each page of the book changes their costume
in keeping with the text. The Bonnie book featuring
Gabby Hayes will date many of us.2

Except for the last personal
note (is the Popuplady really
that old?), she gives, in a
nutshell, a description of the
kind of movable books that
will be described in this
contribution. These are books
in which from the inside of a
cover, usually the back cover,
a fully shaped head swivels up
to show above the text, and a
pair of shaped legs (or a tail)
swivels down below.

Continued on page 2

The Movable Book Society

ISSN: 1097-1270
Movable Stationery is the quarterly publication of The
Movable Book Society. Letters and articles from members
on relevant subjects are welcome. The index to past issues
of Movable Stationery is available at:

http://www. rci. rutgers. edu/~montanar/mbs.html
The annual members hip fee for the society is $25.00 in
the U.S. and $30.00 outside of the U.S. For more
information contact: Ann Montanaro, The Movable Book
Society, P.O. Box 11654, New Brunswick, New Jersey
08906 USA.

Daytime telephone: 732-445-5896
Evening telephone: 732-247-6071
e-mail: montanar@rci. rutgers. edu
Fax: 732-445-5888
The deadline for the November issue is October 15.

Jack-in-the-books, Continued from page 1

The full-page pictures in the book "dress" the body of the
cardboard "doll" that comes into existence by swivelling
out the movable parts of the book. The outfit of the doll is
changed by just turning the pages.

The design of these books is highly reminiscent of
traditional paper toys, the paper dolls that girls love(d) to
dress up with all kinds of clothes and accessories. The
difference is that the clothes here never are missing since
they are bound in the book. At the same time the books
borrow from the idea of earlier head-body-and-leg books
but offer only the possibility of changing the bodies.

The rather unusual and
difficult technique of
swivelling or rotating the
movable parts around a
grommet proves to be
unsuitable for the motor skills
of the young child, the
intended audience. A child of
that age is inclined to fold or
unfold the paper rather than
turn it around. As a result, the
surviving copies of these books
often show the scars of the
struggle the child had with the
heads and legs trying to get them out of the book and back
in again. So, although the movable parts were made of
sturdy cardboard, the dolls that still exist show mostly
bended necks and knees, or even broken ones, hanging
ears or cracked tails of the portrayed animals, and, in the
worst case, beheaded dolls or ones missing one or more of
their limbs! Only those copies that were never in the
hands of young children prove to be collectible.

A tentative start

The earliest books of this kind I have found recorded in the
Dutch journal of the book trade Nieuwsblad voor den
Boekhandel were published in early November 1912 by the
company Gebr. KJuitman from Alkmaar. This is a series of
four books, measuring 25.5 x 20 cm., showing a rather
rudimentary form of the design. The front cover pictures the
body of a person or animal that can be completed to a full
paper doll by sliding up the fully-shaped head above and
swivelling out the legs below, from the inside of the front
cover. The rest of the book is just an illustrated picture book
on the subject of the title. The text is printed parallel to the
spine and the illustrations do not dress up the doll beyond
the front cover.

The front cover of Uit Verre Landen: Opstelbaar
Prentenboek. (From faraway countries: A picturebook to set
up), done in beautiful chromolithography, folds out to
display a nice Chinese or Japanese girl, graciously holding
up an exotic fan. She has a stereotypical Asian headdress
with a tuft and remarkably firm legs. The cover of a second
title, 'k Weet Grapjes. Opstelbaar Prentenboek (I know
jokes: A picturebook to set up), transforms into a nice,
colorful paper doll clown. The other two books are about
animals. The first, De Familie Beer: Opstelbaar
Prentenboek. (The Bear family: A picturebook to set up)
tells the story of Goldilocks and the three bears and, the
second, Jumbo: Opstelbaar Prentenboek. (Jumbo: A
picturebook to set up). They have front covers that,
predictably, fold out into, respectively, a bear and an
elephant.3

Although the series has only been found in Dutch, I am
rather sure that its origin was British (or maybe it was
printed in Germany for the British market) since the style of
the illustrations looks very British and the KJuitman
company in those days published almost exclusively picture
books whose plates were sold abroad. If a reader recognizes
these books from my description in any other language, I
welcome such information.

A few rare examples of these books have been found that
were published in the 1920s and 1930s. The Paris-based
Editions Nilsson brought out, in about 1925, Rirette: Une
Partie de Campagne (Rirette: A party at the countryside)
that has this same odd design of the front cover - just
picturing a torso - as the four 1912 books above. Only when
the head and legs of the little girl Rirette, hinged here,
however, into the rear of the book, have been swivelled out,
does this front cover makes sense. Remarkable to this book
is also the fact that the legs have another turning point, an
extra metal fastener at their knees making the figure more
movable and lifelike- a bit like a "pantin" or Jumping Jack.

Continued on page 4

Robin Corey Books Arrives

Kyle Olmon

New York, New York

There is a new pair of shoes
on the shelves this fall. A pair
of flip-flop sandals, the favored
beach footwear of Robin Corey,
will signify the return of this
highly respected children's
book publisher to the world of
pop-up and novelty books. Get
ready for the debut of Robin

WA'.Y

spectacular piptr sculptures

ROi

A 9 R HEER

Corey Books, the new
imprint at Random
House.

Not long ago, you
could spy an
illustration of another
pair of shoes in
bookshops and know
that you were in store
for a quality movable
book. These pointy-
toed red shoes belong to a certain Dutch creator of dozens
of pop-up books. It has been a few years since we have
seen the work of this man who still sports these iconic
shoes, but that will change this fall. In a statement that
Corey shared, she remarks that "it's been a joy to work
with Ron van der Meer and to publish his first pop-up in
six years. I've been blessed with working with many
creative geniuses in my career and I'm delighted that Ron
has re-joined the fold."

Robin Corey has indeed
worked with many of today's
leading paper engineers and
is no stranger to pop-up
books. She worked for
Intervisual Books and a
handful of New York
publishing houses before
spending 1 1 years at Simon
& Schuster were she was
executive v-p and publisher
of novelty books, media tie-
ins, and teen publishing.
After taking some time off in 2005, it was announced last
year that Corey would head up her own imprint at
Random House.

With Robin Corey Books, she plans to publish about a
dozen titles a year with a focus on movable books, but will
include board books and non-traditional books. "My aim
is to deliver the best pop-ups and novelty books out there;
the list will be a mix of novelty formats... roughly from $5

to $25." Corey continues, "I want kids of all economic levels
to be able to have good novelty books. But no matter what
the price point, I promise lots of bang for the buck!"

Keeping that intention in mind we can check out some of
the movable titles from the Robin Corey Books Fall 2007
debut list. (We'll even get a peek at some projects to come!)

One of the earlier titles
debuting at the end of August
is Big and Little, a concept
book by John Stadler that
utilizes gatefold flaps and
expressive illustrations to tell a
story about the fantastic feat of
Ellie the elephant with a clever
surprise ending.

Christmas Is Coming! written by Lisa Ann Marsoli and
illustrated by Lucy Barnard is a board book with five tactile
elements and a rotating wheel that will allow young children
to match up different textures. Look for this touch-and-feel
title in early September.

At the end of September we will see the release of Ron
van der Meer's How Many? This counting book will feature
spectacular sculptures of different colorful shapes on each
spread. In keeping with a tradition Corey upheld at S&S,
there will be an offering of limited editions that come with
an extra pop-up and full cloth binding with slip case.

The ever inventive David
A. Carter will join the list
with an adaptation of Horton
Hears a Wlio Pop-up! by Dr.
Seuss, in January 2008. This
beloved title will also come in
a special limited edition
featuring an additional pop-
up and a cloth bound
treatment.

Also in January, Robin
Corey Books will offer The Great Bunnyville Easter Egg
Hunt by Chuck Murphy. Which promises "fun, intricate
paper engineering with lots of glitter..." from a pop-up
master.

With a collection of exciting initial titles from the paper
engineering elite like Carter, van der Meer and Murphy, it
appears that Corey is making good on her promise to
provide "bang for the buck" at her new imprint. This could
be a new era of masterful pop-ups from this storied
publishing house that brought us such wonderful pop-ups in
the late 1960s and '70s. Only time will tell, so for now it
looks like we can slip off our own shoes, and sit back with a
new pop-up book (or two) this fall.

Jack-in-the-books, Continued from page 2

Palmy days of the 1950s

The book (20 x 20 cm.) was illustrated in an attractive Art
Deco style by Zou Zou, an unsolved pseudonym of, most
likely, a French illustrator. The eight pages of clothing to
change the dress of Rirette were done in full color. The
illustrations on the eight text pages are in black and white
with a supporting color. The book was published about the
same time in Dutch, without identifying a publisher, as
Lizelotje: Een Dagje op de Boerderij (Little Lizelot: A
day on the farm) with text by a Tante Betty (Aunt Betty).
In German it was published as Rosi (no publisher and the
illustrator's name spelled as Jou Jou) featuring the
adventures of a doll!

Lani of the Islands

Telling the adventures of a doll is also Lulu (no
publisher, no date) which I have not seen but found
recorded in an antiquarian bookseller's catalog. It might
be the English edition of Rirette/Lizelotje/Rosi.

Without a date but from about 1930, Philip van
Amerongen in Amsterdam published Anneliesje (Little
Annelies). Again, it seems to originate from abroad but I
have not yet found the original.4 It has nine, full-page
color pictures of clothes on the right hand pages to dress
up the unfolding paper doll girl Anneliesje.

In Italy the Deposito Edizioni Franceschini from
Florence published, in about 1940, two Libri Sagomati
(literally "torso books") that were advertized to be "...
interesting, patriotic and fascist; richly illustrated with
designs in ten color print." The two titles found recorded
are Balilla, the denomination in use for the members of
the boys' organization under Mussolini's Fascism in Italy,
and Piccola Italiana, the girls' equivalent. Both volumes
picture the dress of the Fascist youth organizations "as to
be weared graciously." They were meant to be instructive
propaganda books.5

The flourishing time of these books, however, started
right after World War II and lasted until the mid-1960s.
They prove to have been part of the outburst of creativity
suppressed by the war and resulting - on both sides of the
ocean - in a lot of (small) new publishing houses that
produced all kinds of inventive movable, novelty, and pop-
up books. In fact, the period can be seen as a "Silver Age" of
movable books whose hitherto neglected history has yet to be
written.

The only difference from the pre-war editions appears to
be that these from now on show on the front cover a
"normal" book design and no longer picture the headless
and legless torso of the figure to be dressed on the pages
within.

Remarkably, the Spanish language world appears to have
had the lead in this development. In 1945 the Ediciones de
T.G. Rovira from Spain published La Leyenda de Mio-Lo-
san, written by Jose Mallorqui Figuerola and illustrated by
Lozano Olivares. The 18-page booklet (18 cm. square) tells
the legend of the exotic little girl Mio-Lo-san and the right
hand pictures change her outfit as the pages turn,
corresponding with the story line of the text on the left hand
pages. A year later, in 1946, the Barcelona-based Ed.
Molino brought out an exotic title Las Fantasias de Nana-
Manur telling the story of the dreams of the little brown girl
Nana-Manur who lives on an exotic island in the Pacific.6
Apparently there were other books of this kind since another
title featuring a Hawaiian (?) girl, illustrated by Correas, was
seen in its English translation: Lani of the Islands. It was
"translated from the Spanish by Florence J. Magallan,
adapted and edited by Pitt Fitzgerald" and "Printed in Spain
for the Wagner Company, Santa Monica, California."7. But,
maybe this book dates from the late 1950s. By the way, they
are the only non-white people seen in this kind of book!

This same illustrator, identified as "Correas," illustrated
El Viaje de Luisito (Little Louis' trip) that appeared in 1959
with text by L. del Corral published by Editorial Molino in
Barcelona.

About 1950 the formula appears to have gained
popularity in several countries at the same time and
publishers started to offer series of titles with rotating head
and legs, marketing them sometimes simultaneously in
several languages.

Two books, privately published by their author Edmund
Landy, appeared in 1950 in Vienna, Austria: Peter und
Seine Sieben Sachen. Spielbilderbuch, Nr.l (Peter and his
seven things. Playbook, Nr.l) and Liesl: Geschichte Einer
Anziehpuppe. Spielbilderbuch, Nr.2 (Little Lisa. History of
a paper doll. Playbook Nr.2). Both were illustrated by Helga
Schenker. A second edition of these oblong books (17 x 22

cm.) was published in 1951 by the official publisher,
Fischl in Vienna. Liesl was issued in an English edition as
Susan and her Dresses published at the same time. Peter
was issued in a Greek edition titled "IleTpaKrig," and was
published by Atlantis in Athens.

Early in 1951 Landy privately published two further
titles in the series, also illustrated by Helga Schenker,
Teddy Bereist die Welt. Spielbilderbuch, Nr.3 (Teddy
travels the world. Playbook, Nr.3), with the head and legs
of a teddy bear folding out. The bear wears the national
outfits of the countries he visits, starting in New York and
traveling to Greenland, Paris, Switzerland, Austria,
Venice and Africa. The second, Bongo in der Stadt.
Spielbilderbuch, Nr.4 (Bongo in the city. Playbook, Nr.4),
features a monkey that can be dressed up in seven
different outfits. A final fifth book by Landy and Schenker
was published by Frischl in 1952: Ich Zeig dir Was! (I'll
show you something).8

To complete the known German language productions,
I mention here the only other title found. About 1950 the
publisher Carl v.d. Linnepe in Liidenscheid brought out
Meine Schbnsten Ferien: Annemaries Ferienfreuden (My
most beautiful holidays. Annemarie's holiday pleasures),
written by W. Borgholte and illustrated by Wardin.
Annemarie's clothing changes are a school uniform,
birthday dress, beach wear, various national costumes,
and, finally, a special autumn dress.

In exactly which year the Dutch company of Mulder &
Zoon, Amsterdam, published their well-known first books
of this kind, is hard to say. The company started shortly
after WW II but their first known catalog dates from 1951.
This catalog included both Ernst and Janny, so they date
from at least 1951, but they may have been published
between 1 945 and 1950. Written by Clinge Doorenbos and
illustrated by Mr. Van Groen, they were reprinted several
times during the 1950s, with and without the author's
name. English editions are known as Jack (for Ernst) and
Jill (for Janny) published by Sandle Brothers Ltd. in
London and also under the imprint of Mulder & Son
Amsterdam (or only their logo of a windmill - "Mulder"
means miller - and "M & Z"). These English editions
were mentioned in the 1951 catalog, so they were already
published by then. As, too, were the French editions Jean-
Paul and Francoise, both with the Mulder & Zoon
imprint.

Apparently encouraged by the success of these two
titles, the company published four titles about animals
written by Clinge Doorenbos. Poesjenel ( 1 954) features a
dressed kitten and has a kitten's rotating head and legs.
Teddy (1954) tells the adventures of a teddy bear and
transforms into a paperdoll bear when the movable parts
are unfolded. Kwekkelientje (1955) is about a duck and
Henkie Haas ( 1 955) is a sportive hare that not only plays

soccer, swims, skis (both in the snow and on the water),
mountaineers and shoots, but also plays cowboy, goes to
school, brushes teeth (!), and reads a book before going to
sleep.

According to the
Mulder catalogs, the four
titles were translated into
English and published
both without mentioning
a publisher and with the
Mulder & Son imprint. I
have traced just two of
them as Kittikins Capers
(Poesjenel, 1 954) and
Burrie Bruin Frolics
(Teddy, 1954). From the
South African editions,
published by Ruanda
Roux Afrikaanse Pers,
Johannesburg. I have seen
only Hansie Haas
(Henkie Haas, 1955) and it was in a private collection.9

In the United States two companies started publishing
books of this kind in 1952. Hart Publications in New York
offered two different books with a same title, Look who I
am!, written by Rosemary Shawn and illustrated by Doris
Stolberg. One volume, as stated on the cover is "featuring a
beautiful 18 inch doll with 15 colorful costumes,
interchangeable by the turn of a page." It has a little girl
who can be dressed in all of the choices available to a girl of
that era: nurse, ballerina, stewardess, etc. The second one, a
little boy, can be redressed 15 times in boyish outfits like
those of a fireman, cowboy, doctor, baseball player, etc. They
were, at the same time, internationally marketed since we
know both parts in their Dutch editions as Levende Poppen
(living dolls), without a publisher's name, and shortened to
only seven changes of outfit each. The boy's version was
also published for the international market with 13 of the
original 14 outfits (omitting the soldier), and without any
text. Striking for this last edition is that the front cover
shows the hands of the boy holding a suggested book with
pictures of four of the outfits inside; so, in this case the cover
also matches the unfolded head and legs...! A Dutch copy
entitled Sport en Spel (Sport and game) has also been seen
without a publisher or date but surely also from the early
fifties.

A year later, Hart Publications brought out at least one
other volume by the same couple, Shawn and Stolberg. this
time with an animal as the protagonist: Monkeyshines: The
Escapades of Bongo (1953).

The main publisher for these books in the United States
appears to have been the Samuel Lowe Company from
Kenosha, Wisconsin. Within their series of Bonnie Books

that offers all kinds of movable and pop-up titles, they had
the sub-series of Jack-in-the-book titles for books with
unfolding head and legs - the ones the Popuplady referred
to. They are uniform in their size (23 x 15 cm.) and
layout; all have 12 pages and strongly resemble the Little
Golden Books, then very popular. Unlike all the books
described above, having the rotating head and legs inside
of the back cover, the books from this series have them
inside the front cover and, as a result, the left hand pages
now picture the changing outfits. And where the other
books have blank inside back covers behind the movable
parts, the background of the inside of the front covers in
this series pictures the first dress of the paper doll. Rarely
is an author or illustrator mentioned in these books, but all
parts from the series were designed, packaged, and
copyrighted by the James and Jonathan Company, based
in Kenosha, Wisconsin. Was this company a studio or a
packager?

The series started in
1952 with three parts:
Circus Time, with a
clown's head and feet
that unfold; Dolly
Takes a Trip, telling
about the little girl
Dolly; and Cookie the
Rabbit, with movable
head and ears. The
immediate success of
the formula on the
American market
caused the publication
of another four titles in
the next year: the very
girlish Betty Plays
Lady, and the likewise very boyish Billy Boy to dress as a
cowboy, baseball player etc. There were two animal titles:
Popsy the Pup, with a dog's head and tail that swivelled
out; and Trinket the Kitten. In the second, the bright-eyed
cat's head and tail unfold with a story that tells about
Kitty's birthday presents. The series was extended in 1 954
with just Gabby Hayes: Tall Tales for Little Folks, but
now with a series name, "A Bonnie Jack-in-the-box
Book."

Hayes Show. It is with this TV show that our Jack-in-the-
box Book title ties in - as can be seen also from the design
of the front cover where we see his head-with-cowboy-hat on
a TV screen. Gabby's head and booted legs fold out of the
front cover and the pages of the book dress him as a pirate,
a lion-tamer, an astronaut, Santa Claus, Old King Cole, and,
finally, a member of the Royal Mounted Police!

Leah Gale wrote three additional parts in the series that
appeared in 1956: Timmy Tiger: The Tale of a Timid Tiger,
with unfolding head and paws; Alfie the Playful Elephant;
and Captain Big Bill the Pelican. The last was illustrated by
Elsie Darien and Jo Poehlmann, with a swing-out head and
boots to create a pelican in fisherman's garb. It was
reprinted in paperback as Big Bill the Pelican. Jack-in-the-
Book Story (1963).

The last title from the series I found recorded is Little
Sugar Bear, published in 1 962.

These 12 titles are all I came across from this series of
Jack-in-the-book books but there may have been more.
Additions from readers or collectors who know of others, or
have them in their collection, will be welcome. To my
knowledge, none of them was ever translated into a foreign
language or marketed outside of the United States.

To finish this part of my contribution we first will have
to cross the ocean again and go to France. The publishing
company of Hemma, based both in Paris and in Chevron,
Belgium, in 1956, published four titles in French and Dutch
(since Belgium is a bilingual country): two boyish books
Bruno and Pierre (the Dutch editions as Bruno and Pieter)
illustrated by J. Lagarde. At about the same time, he and his
wife Luce Lagarde also illustrated a whole range of simple,
fanfolded pop-up books for the company. The exotic
Mandarine (and in Dutch Mandarientje, shown on page 1 )
tells the story of a little Chinese girl of that name who wants
to have a new dress for the Feast of the Moon but cannot
decide which embroidery she wants on it. First she wants a
dragon, then colorful birds, flowers, the setting sun, tropical
fishes, and, finally, pink water lilies. Because of her
indecision, the tailor cannot make the dress in time and she
has to go to the feast in her old dress. The boyish counterpart
appeared as Ritou and was illustrated by J. Lagarde.

George Hayes was nicknamed Gabby because in the
1940s he used the screen name "Gabby Whittaker" when
working for Republic Pictures. Hayes was a well-known
movie star in the 1930s and 1940s who played roles in
John Wayne's The Star Packer ( 1 934), Randy Rides Alone
(1934), and "Uncle Ben" in Hopalong Cassidy (1935).
But he came to fame as "Windy Haliday," the sidekick of
Hopalong Cassidy, first in Three on the Trail (Paramount,
1936). He then did over 40 films with Roy Rogers in the
1940s. In the 1950s he even had his own comic book
series and his own TV program for NBC, The Gabby

My last stop in Europe is Hungary, where the company
of Corvina, Budapest published two related titles that I have
seen only in German editions. In 1960 Peter, Was Willst du
Werden? (Peter, what do you want to be?) appeared by Papa
Relli and illustrated by Anna F. Gyorffy. A year later its
female equivalent was published, Inge, Was Willst du
Werden? (Inge, what do you want to be?) by the same author
and illustrator. It was very popular at the time and was
reprinted almost every year until 1967 (5 editions).

Another trip leads to South Africa, where a nice
variation was found in a shaped book published in
Johannesburg about 1955, without author, title, publisher,
or date but starring the little girl Bessie. A tall book, 35
cm. high, it is die-cut in the shape of a girl, wearing in a
blue coat. The coat opens to show the story of Bessie. On
the right hand pages are the clothes she wears when going
to school, cooking, gardening, etc. The head and legs of
the girl are fixed and cannot be folded into the book block
as happens with the other books we have discussed.10

After-life of the format

Since their most popular days in the 1950s, the design
of the movable head and legs still occasionally pops up.
Keith Moseley, for example, used it for three books he did
for Mulder & Zoon, Amsterdam in 1973: Wat Petra
Worden Wil (What Petra wants to be), Wat Liesje Fijn
Vindt (What little Lisa likes, shown on page 1) and Wat
Paultje Wil Worden (What little Paul wants to be). All
were illustrated in a typical 1970s style and published in
French by Nathan in Paris in the same year. I have only
seen the Paul title translated as Les Metiers de Didier
(The professions of Didier).

Price Stern Sloan from Los Angeles brought out, at the
end of the 1980s, in their range of "PSS Surprise Books,"
three titles: Bare Bear 's New Clothes: Dress up a Fold-
out Bear (1986), with text by Peter Seymour and
illustrations by Robert Cremins; Hillary Hippo, Movie
Star: A Dress-up, Fold-out Book (1988), illustrated by
Linda Weller; and Santa 's New Suit! A Dress-up and
Fold-out Santa (1993), illustrated by Mike Lester.

A nice variation of the format was created by Keith
Faulkner in his two titles illustrated by Manhar Chauham
and published by Brainwaves in 1998. Panda Makes
Faces has five different heads that swivel out from the
inside of the back cover, picturing, respectively, such
emotions on the face of the panda bear as sleepy, surprise,
sad, angry, and happy. A second title, Bewildered Bears,
has five heads of the bear, each with a head gear that
matches the bear's activities: fishing, skateboarding,
diving, walking, and relaxing.

Some evaluative remarks

Reviewing the copies I have seen, found recorded,
and/or pictured, the general character of these books can
be described as mass produced "industrial" picture books
(toy books). They were mostly published without crediting
an author or illustrator, with a text that hardly ever
exceeds the level of doggerel verses or basic stories written
by writers who made a living turning them out. The
illustrations do not have any artistic pretension and were
done by just skillful illustrators or studios, who were
probably paid off in a lump sum without getting any

royalties. The transforming format of the book proves to be
the most important reason for their publication - more
important than the literary or pedagogical value of the
content of the story or verses, or the artistry of the
illustrations. Like most industrial picture books, they are
typically undated and are generally not recorded in the
national bibliographies, most likely since they were seen
more as paper toys than as books. "

In the human characteristics they strongly mirror the
spirit of the age in their post-war optimism showing white,
middle-class children who are well-fed and well-dressed
with extensive wardrobes. They all go to school, have the
opportunity to do all kinds of sports, travel and visit foreign
countries, even exotic places, and seem to have holidays all
the time. They live in happy families with a father and a
mother, in comfortable and well -furnished houses with a
garden, have pets, and are in no way threatened by the evils
of the world outside.

The wardrobes with
which the figures can
be dressed, mirror, at
the same time, the
children's fashion of
the 1950s. The books
offer a catalog of
trendy children's
clothes of that era and
for all seasons (though
winter clothes are
hardly found), weather,
sports, activities, and
other occasions.
Sometimes they also
show various national
outfits worn in foreign
countries. But, more
often they can be found in the special clothes that belong to
professions, since several of the books prove to be a kind of
catalog of what to be in adult life.

A big difference can be seen between books featuring
boys and those featuring girls. In this aspect they also clearly
mirror the pre- feminist era of the 1950s (even the titles that
have been published after that decade...!) This, apparently,
is the reason why the books are hardly ever found published
after the 1960s. Both in the things boys do or girls do. such
as the professions that are proposed for boys or for girls, they
are very stereotypical and old-fashioned. Boys are sturdy.
they like wild games, rough sports, and naughty behavior.
They race with self-built wooden cars, play baseball and
soccer, mountaineer and hunt, fish and ski, practice
shooting, and play the guitar with the scouts at a nightly
camp fire. Girls, however, are sweet and quiet, anxious to
avoid being dirty, busy with what to wear, with birthday
parties, and dreaming. They help their mothers, like to cook

and garden, skip, ride horses and swim, go for a walk with
the dog, or have a tea party with their dolls, go to the
beach and - of course - go shopping.

A same, sex-related difference between boys and girls
is found in the professions the children play or which are
proposed for them. A boy can become a fireman,
policeman, soldier, cowboy, baseball player, golfer,
hunter, aviator or astronaut, seaman or ship's captain, or
even a pirate! The boy is the pilot, the girl a stewardess;
the boy doctor, the girl nurse; the boy an Indian, the girl
his squaw; the boy a magician, the girl his assistant. Girls
will be a hairdresser, ballerina, hostess, teacher of the
nursery class, waitress, or.... Miss World!

What a conveniently arranged world it was in "ye olde
days"!

The animal-related items scarcely differ. The
anthropomorphic animals found in these books are hardly
ever seen as real animals. On the contrary, they wear the
same clothes as the children, have their same family lives,
do similarly naughty things, are as fanatic in their variety
of sporting events, and, finally, go to bed, read a book and
dream! I couldn't suppress the thought that some people,
who as children identified themselves closely with these
stories and pictures, as adults continue to dress their pets,
to trick them out, to go with them to beauty saloons, treat
them as children, and maltreat them in other ways. Could
that be?

Conclusion

Although this type of book proves to be just a small
part of the genre of movable books, they impressed the
children who had them in their youth. The Popuplady is
not the only one who vividly remembers them now, when
grown. While busy with the research for this contribution,
I found that I hardly ever had to explain to the generation
that grew up after the second World War, in the 1950s or
early 1960s, what kind of books I was tracing and
studying. While the type is nameless, a short phrase like
"books with a head and legs that come out," usually
sufficed to bring out all kinds of youthful memories, exact
descriptions of pictured children and their clothes - even
once a nice story about a mother who used the books to
sew half the wardrobe of her children after the designs
found in these books.

Since this was just a provisional survey, I hope for now
that there are more people like the Popuplady who, after
having read all this, will remember other titles not
included in this contribution. I am sure there must be
more. So, when a title or other significant detail is
remembered - or if there is an interesting story to tell
about them - please contact me. I make the same request
of collectors who might have additional information about

the titles discussed.12

Notes

I For example: none of them is included in the two parts of
Ann Montanaro's bibliography.

2Ellen Rubin, "The Abecedarian of my Favorite Thing: Wild
& Wacky Books from the Popuplady's Collection." ABC
Newsletter, vol. 13, No. 2 (Fall 2001).

3 All of them very rare and not found in any public
collection. Three of them seen in a private collection whose
owner, Mr. Frits Booy, I want to thank for sharing; the
fourth one in the collection of the author.

4 The Van Amerongen Company started publishing in 1923
and was active untill World War II. It was also a company
that published mostly picture books for which the plates
were sold abroad.

3 Pietro Franchi, Apriti Libro! (1998), pages 53 and 106.

6 Pictured in full color in Quim Corominas, Pop-Up: Llibres
Movibles I Tridimensionals (2000), p. 55.

7 With thanks to Mr. Reinhard Tenbrock from Germany who
sent me the bibliographic details and pictures from this title
in his collection.

8 The last one has not been seen, so not sure if it fits with
the other three.

' The Mulder catalogs always mention that titles have been
published by them in English, French, German and/or South
African but, unfortunately, fail to give the titles of the
foreign language editions.

10 Found recorded and pictured in color in the Aleph-Bet
catalog 82, page 512.

II For a more theoretical examination of industrial picture
books see my chapter "Fabrieksprentenboeken en de
internationale prentendhandel" (Industrial picture books and
the international picture-trade), in Saskia de Bodt and Jeroen
Kapelle's Prentenboeken: Ideologie en Illustratie,
1890-1950. Ludion, Amsterdam, 2003, pp. 85-98.

12 My email address is theogielen@wanadoo.nl.

Santa 's New Suit!
Santa in his underwear

Santa 's New Suit!
Santa dressed in a tutu

Who Killed Robert Prentice?

Published in June 1937 for the Crime-Book Society by
Hutchinson & Co. (Publishers) LTD.

|3 \

.WHO RULED

SOBESIPEBmCE?

1980 reproduction and
new dustcover

File on Robert Prentice.

The second dossier was a
great success and critically
acclaimed as an excellent,
complex mystery. The exception
was in Germany where it was
banned by Hitler for "loose"
women characters! In the U.S. it
was published under the title of

There is an interesting discussion between the two
authors on the inside front cover regarding the success of
the first dossier, with sales reaching 200,000.

It was time to plan the next mystery. Their words
reflect the method used in their constructions and working
styles:

J.G.L But this is not the sort of thing I meant!

D.W. // 's the story we worked out together and you were

keen enough about it then. I've hardly altered a

word. ..you wrote for me.

J.G.L. But, my dear Dennis, you 've told it in a completely

different way...

D.W. I hate repetition... must we imitate-even ourselves?

J.G.L. You may be right. ..but Vm going to set to work on

a third dossier. ..straight unadulterated detection>

D.W. Grand! Let me know when you 're ready to talk it

over.

During this time, hints of artistic disharmony came into
the working relationship between the authors. In 1938 when
the third volume was published, it had inherent problems
that were reflected with drastic downward sales.

The Malinsay Massacre

Published in April 1938 for the Crime-Book Society by
Hutchinson & Co. (Publishers) LTD.

mMihm

,jff> ^u - »*<**=

MJUlNSfiy

1981 reproduction and
new dustcover

After Wheatley had
written the outline of the
story, he went on holidays
and Links organized the
photographic shoots at the
Carlton Hotel in London,
except the location of the plot
was a castle in Scotland. By
the time Wheatley returned,
the production was in full swing and it was too late for
amendments. It was another problem between the two
authors and it seemed the creative partnership was starting
to flounder.

There was a cutback in the inserts of clues; the
newspaper cuttings were cut back in size, but increased in
quantity, as this was a more cost effective production method
than multiple physical 3D inserts. The saving grace was the
insert of a glued glassine packet which, when opened,
contained a small white arsenic tablet. Typewritten
underneath were the reassuring words, "Note to readers: The
poison has been extracted from this tablet. " A placebo pill
was used, just in case a nervous reader took the investigation
to another level of intensity.

Inserts included a train ticket stub, postage stamp,
letters, a packet of torn photographs, a broadsheet
newspaper of 6 pages folded into quarters with an
interview with the two authors, and the usual photographs
of the suspects in compromising situations.

goutb S«

J«X

y^«i< Warn

! «fSf Slant's

\^

1 '"•■ ■ '

■ss

i ' * f J :;

! m

fiPi 1

1

jTOUT J 1

Prentice inside fold-out 6 page newspaper,
printed on newsprint stock

Inside page with "arsenic" pill

The dossier finished with the back cover featuring a
delightful advertisement for Wheatley's massive sales of his
novels over the last year. He was now firmly in the league of
future airport page turners. The only chink in his publishing
empire was the rapid decline of the dossiers in the popular
imagination. Wheatley and Links worked quickly on what
would be their last dossier and the timing of its release did
not help their cause.

10

Creative Use of Inserts, continued from page 1

The results were pared-down mysteries with a minimum
of narrative, compiled in folders with real, touchable
clues. Links savored the success of this solution and the
many imitators it spawned up to his death in 1 997. It is
impossible to clearly state how their collaborative skills
were utilized but the consensus is that Wheatley focused
on the slight narrative and marketing of the dossiers and
Links created the plots and flow of the story lines.

The original books were published in thick brown
cardboard tied together with a red ribbon through two
holes. At the time, police files or dossiers were made in
this way and held all the relevant information on the case.
These books were not the first "dossier" style "who-done-
it" puzzles but were the most complicated and intricate
publications.

The common elements and what was unique to these
dossiers can be summarized in the following points.

a) cardboard folder tied with ribbon

b) analysis of clues while watching for "red
herrings" and the solution in the sealed section at
the back of the folder

c) physical clues inserted or housed in paper/plastic
bags to be used in creating the reader's narrative
to assess the given facts and literally "play" the
book.

Murder off Miami

Published in July 1936 for the Crime-Book Society by
Hutchinson & Co. (Publishers) LTD., Murder off Miami,
was priced at 3 shillings and 6 pence and as all the
material had to be placed and glued manually (as in all
movable books), production costs were high and sales
margins slim. The publishers hedged their bets and
offered the authors only a one-penny royalty on sales over
10,000! Bookshops were wary, commenting on the
unusual "packaged" format and the awkward display the
floppy covers made. It was Wheatley's marketing savvy
and his strong belief in the product, plus wining and
dining the book trade, that created a ground-swell of
positive media and public response. The big London
department store, Selfridges, agreed to take 1 ,000 dossiers
but on the condition that Wheatley signed every copy,
which of course he gladly did. In his autobiography aptly
titled Drink and Ink, he mentioned that Queen Mary
bought six copies on the day it was published and over the
next six months 120,000 copies were sold.

The dossiers were a publishing sensation. The new
marketing gimmick was taken up around the world and
was published in America by William Morrow with the
title of Crimefile Number 1 File on Bolitho Blane,
supposedly based on a real identity who, it seemed, was a
person of interest to the authorities on both sides of the

Atlantic in the 1920s and 30s. Wheatley used the name for
his mysterious character in the dossier and it turned out to be
another stroke of genius as it created controversial publicity
and increased sales.

<*m

-0^::-

•<i*

*%«

DENNIS

WHEATLEY

k_ NEW ERA IN ^5T i
9) IHUHSSMSHB \«'-»'/j

JGL1NKS

MURDER
OFF MIAMI

\*r.

1979 Reproduction with new dust cover

Clues that appear inside
Murder off Miami

Inserted in the dossier are memos, photographs printed on
glossy paper, interspersed by typewritten police notes,
cablegrams, human hair, blood stained cloth, and a burnt
match! In 1979 Hutchinson/Webb & Bower published a
facsimile edition with a new paper dust wrapper.

The Guardian newspaper book critic Martin Wainwright,
reviewing the reprint wrote, "Nuns from convents all over
Europe provided the vital twists of hair for the new
editions... The used matches... kept the printers busy after
work, when their staff each took home several books and
patiently struck their contents. Finally a special chemical
mixture provided a lasting bloodstain on the piece of curtain
glued in each book, after the real blood donated by a director
of the printing firm faded almost at once."

(My imagination runs wild when I think of how it was
hand-produced in the 1930s, but I could not find any further
information).

1.000

o«' .,upftT*-fc .

«■£££* ass ^-« =5

Back cover with Wheatley's
advertisement detailing his sales

Herewith the Clues

Published in July 1939 for the Crime-Book Society by
Hutchinson & Co. (Publishers) LTD.

The theme was
international terrorism with a
mixture of IRA, Soviet agents
and the hoi polloi in London but
with the outbreak of WW II,
sales nosedived and Hutchinson,
the publisher, started discounting
the price. This move caused profits to be very tight as
production costs had risen dramatically, due to their
decision to insert 12 physical clues including a hairpin,
bullet casing, hairs, and tell-tale screwed up notes.
Everything was thrown into the mix but the times had
changed.

Authors as suspects

It seems J. G. Links constructed and oversaw the
production of Herewith the Clues, as Dennis Wheatley was
ill at this time. Again the choice of photographic matter left
a lot to be desired. The reading public saw through the
author's indulgent use of photographs of their aristocratic
friends and themselves as the story's characters (even using
their own names in the captions) as a frivolous gimmick at
a time of national hardship. Wheatley's marketing skills
were lost in the reality of events swirling around him.

The great idea had
finished its course and
had to wait for the
reprints from 1979 to
1982 for a spectacular
return to popularity.
Critics at the time
classed Herewith the
Clues as the weakest of
the four, but the
facsimile of 1982
became the best seller.
Here is the book
reviewer Graham Lord
in the Sunday Express
on 28"1 March 1982,

"...More a game than a book and certainly not a novel
despite being fictional, it is a baffling superbly produced
murder mystery dossier... complete with clues you can
actually handle and evaluate (like real cigarette ends and a
lock of hair)... the fourth and last lovingly faithful modem
reprint of a series of dossiers devised by Wheatley and Links
in the 1930s which sold then by the hundred thousand and
which even now, resurrected, have sold a quarter of a
million copies world-wide."

In 1986, Webb and Bower published the four dossiers as
glossy hardbacks with all the cuttings, letters and clues
printed as photographs, a static flat printed page. I am sure
if Dennis Wheatley was asked his opinion on this venture he
would have not have approved, since the whole idea was to
create a police dossier to touch, feel and be involved in.

The English novelist Reg Gadney, writing for The
London Magazine in 1969 on the short life-span of the
original dossiers said, "it may well be that the form of the
dossiers is unsuitable to other forms of fiction... We can
perhaps decide that the best description is 'Literary Collage'
in so far as they wove actual clue with fiction plot... if any
future alterations are to be made to the physical aspects of
the book, then the dossiers suggest some of them..."

I suggest that these books published in the turbulent span
of the 1930s, republished almost fifty years later and finding
a new audience, was a creative ingredient in the resurgence
and an indirect influence on designers, packagers and
publishers of movable books.

Series of clues inside the dossier

This can be seen in examples from Search for the Rare
Plumador created by Ray Marshall in 1983, Nick
Bantock's series of the Griffin & Sabine books in the early
1990s, Iain Smyth and his "pop-up whodunnit " crime and
adventure books of the mid '90s and the many varieties on
interactive collections of materials available today.
Today's producers, such as becker&mayer!, work on
topics such as slavery, space and flight, Disney and
architecture, and use physical elements to illustrate these
book formats, in preparation for publishing. The heritage
is long and strong, establishing a genre for future
reference.

In 1983 Webb & Bower published in England the first
of three Sherlock Holmes Murder Dossiers planned and
edited by Simon Goodenough and designed by Malcolm
Couch. A Study in Scarlet, The Sign of Four, and The
Hound of the Baskervilles claimed to be the case notes of
Dr. Watson found in a bank vault! Beautifully produced
with all the clues and inserts from pills to hair, they are
homage to the efforts of Wheatley and Links.

Historical movable books made accessible

Theo Gielen

The very active Dutch St. Geschiedenis Kinder- en
Jeugdliteratuur (Society for the History of Children's and
Youth Literature) started to include on their website,
www.hetoudekinderboek.nl, a selection of old movable,
novelty and pop-up books. The books range from 1 795 to
about the 1960s and almost always include of all the printed
pages. For copyright reasons some more modern books
include just a selection of the pages.

Included are some 120
titles in Dutch, English,
French, and German, but
there are some in other
languages, too. Of course,
there are titles by
Meggendorfer, Nister, and
Tuck, but there are also very
rare, early paper doll books,
variant editions of books
that from their cover look
the same, a Dutch edition of
an early Dean title, and a
good selection of early
Disney and Kubasta books.

Unfortunately, the site is only in Dutch, therefore, here
are some instructions. When opening the site you will see a
button "beweegbare boeken" (movable books); push that
button and a short introduction appears. To the left there are
additional buttons: "Trek-schuif-draai" brings you to old
movables with pull-tab, slide and wheel-turn techniques.
"Insteek & aankleed" will open books with inserts and paper
doll books. "Pop-up boeken" doesn't need an explanation but
offers, when opened by another marked click, the Kubasta
books. "Anatonomische & flaps" brings lift-the-flap books,
including medical and technical ones. "Disney pop-ups"
gives a small selection in various languages of early Disneys,
including French ones that have never been published in the
United States. "Alfabetische lijst" lists alphabetically the
books that can be seen on the site.

The movable pages of the books are shown in their two
extreme positions; when you click forward and backward to
these pages it is possible to see them in motion. Every
chosen book can also be seen as a slide performance by
clicking the button "dia-voorstelling," and every four
seconds there is a new page.

The Society plans to greatly increase the number of
digitalized movable books on their site. But, for now they
offer the opportunity to see, read, study, and play with a lot
of rare historical movable and pop-up books. Enjoy it!

12

The Movable Book Society - New Zealand

Exhibits

On a damp cool day in May 2007, 1 00% of the New
Zealand members of the international Movable Book
Society had their inaugural meeting and social weekend.

The get together was held at the Puke Ariki Library &
Museum in New Plymouth (on the west coast of the North
Island of New Zealand) where there was a display of
popup books by one of the members. The meeting
comprised a delightful lunch, an exchange of ideas and
book viewing, and then a visit to the formal public
display.

Charles Duke & Trevor Morley at the entrance to
the display of Charles' books in Puke Ariki

On Sunday all members and their partners gathered at
the home of the local member for lunch, a private viewing
of the member's collection, and conversation about books,
collecting, travel and life in general. All known world
problems were solved during lunch!

It was agreed to make the highly successful event an
annual affair and all members heartily committed and
resolved to remain in contact and further the promotion of
popup and paper engineered books.

The picture is of all New Zealand members of the MBS
and is it is believed to be the first time 100% attendance
has been achieved anywhere in the Society.

Catalogs Received

Marc Selvaggio. A Pop-up Collection. 2553 Hilgard Ave.,
Berkeley, California, 94709. 510-548-8009. Email:
dsbooks@comcast.net.

Sotheran's of Sackville Street. Children's and Dlustrated
Books." Henry Sotheran Limited. 2 Sackville St. Piccadilly,
London W1X2DP. Phone: 0171 439 6151. Email:
sotherans@sotherans.co.uk. http://www.sotherans.co.uk

Milwaukee, Wisconsin

Book Artists' Response to Death and Memory
University of Wisconsin - Milwaukee
September 1 5 - November 2007.

Curated by Maria G. Pisano, the exhibit and the
accompanying free lecture, will present work of artists who
use the book form to create works dealing with death,
spanning from the Holocaust and global conflicts to personal
losses. These books are powerful mementos, and even as
they focus on death, they commemorate life. For additional
information please contact Special Collections at 414-229-
4345 or libspecial@uwm.edu.

Maria G. Pisano will be the featured artist in the Book
FOR(u)Ms Book Artists Series at the University of
Wisconsin - Milwaukee in October 2007. As part of the
program she will have a one person show, showing books
from Memory Press and prints. Additionally, she will be
giving a lecture and workshops for the University and the
local book arts community. For additional information
contact Special Collections at 414-229-4345 or
libspecial@uwm.edu.

Goldendale, Washington

Gadzooks! Amazing Books by Northwest Artists
July 21 - November 15, 2007
Maryhill Museum of Art
http://www.maryhillmuseum.org/

Spain

The Spanish collecting couple Ana Maria Ortega and
Alvaro Gutierez will do no less than three exhibits of their
collection (some 1,500 copies covering some 700 years of
movable books) in their country in 2007. The first one was
in the library of Valencia from March till early June; a next
one will be in October in Valladolid; and a final one, a
Christmas book special will be in Oviedo in December.

Chappaqua, New
York

Marilyn. R. Rosenberg

Visual Poetry/ Artists'

Books.

September 8 - October

27, 2007

Chappaqua Library

www.chappaqua.org

Marilyn Rosenberg's
Alphabet Stew

New Brunswick,
New Jersey

Vacation

August - September 22, 2007

Artists' books by Beatrice Colon, Lois Morrison, Barbara

Henry, Marilyn Rosenberg, Chuck Miley, Suellen

Glasshauser, Maria Pisano, Miriam Schaer, and more.

13

Livres Animes

The July update of the informative French website of
movable books, www.livresanimes.com, offers a filmed
interview (in English) with Robert Sabuda and Matthew
Reinhart done by the magazine Etapes (for graphical
design) when they visited the Boutique du livre anime
(pop-up bookshop) in Paris early in May. There is also
(written and nicely illustrated) an interview with the
French artist UG (Philippe Huger), calling himself a
"seriesgraphomaniac, pop-upist, cardsculptor and
avantgardist." He is also a creator of limited edition
artists' books with pop-ups. Additionally, the site includes
an interview with Sacha Poliakova, illustrator, and
Aurelien Lemonier, architect, who astonished us with
their first pop-up book Quand Toutou se Carapate that
was praised in the May issue of Movable Stationery (page
6).

Unfortunately, their special site of all of the movable
and pop-up Alice in Wonderland editions that was
announced in the February issue of Movable Stationery
(page 17), is not available.

Questions and Answers

A. In the February issue of Movable Stationery (page 7),
Ann Montanaro asked for information about the stand-up
book Poor Robinson. It had been listed on ebay and

resembled the books
from the Little
Showman Series,
published by
McLoughlin in the
1880s. Poor
Robinson proves to
be one of four
scenes that,
together, make up
Theatrical Picture
Book, published
anonymously and
without any
bibliographical
dates, having just
the notation
"Printed in
Germany." The publisher, however, was the printing
company of Gustav Loewensohn in Furth (near
Neuremberg) in Germany, a company that also printed
many of the Tuck movables.

The Theatrical Picture Book opens showing a
beautifully chromolithographed plate of Robinson Crusoe
(the poor copy offered on ebay had only a glimpse of its
original brightness) set within a theatrical setting of run-
up curtains and with the title below. The plate lifts to

reveal a 4-layered diorama of three cut-outs and a backdrop,
showing Robinson on his island. There is appropriate text at
the foot and the title repeated at the top. Next there are
similar scenes and texts for A Rare Cat (Puss in Boots), Too
Much Talking is Hurtful (Little Red Riding Hood), and
Awake, Sleeping Beauty. The four scenes are bound like a
leporello and unfold in such a way that the four dioramas
stand up side by side - making a great, impressive effect.

The book was published in 1883 in various languages.
The German language edition Theater-Bilderbuch can be
seen on the website of the Dutch SGKJ (Society for the
History of Children's and Youth Literature) at
www.hetoudekinderboek.nl. The four separate scenes came
on the market at the same time, under their own titles, as
card-covered, double spreads, most likely to increase the
profits! The Poor Robinson that puzzled Ann Montanaro, is
therefore one of those separately published scenes - all of
which are now very rare.

Theo Gielen

A. Both Eleanor Heldrich and Ann Montanaro requested
information about series books. The Random House "It Pops
Up!" series had four titles. Number 1 is Hansel and Gretel.
Number 2 is Little Red Riding Hood, and number 4 is The
Emperor's New Clothes. What is number 3 and are there
more than 4? The Random House CTW "A Sesame Street
Pop-up" series included 15 titles. What is number 4?
Number 3 in the Random House "It Pops Up!" series is
Three Little Pigs. Book 4 in the series "A Sesame Street
Pop-up" is Wlmt Happens Next?

Harry Goralnick
Waldo Hunt

Pop-up Cartoon

Unshelved, the world's only daily comic strip set in a
public library, features scenes that are made up as well as
some based on real life, and some that are absolutely true
stories sent by readers. A recent comic featured a large, full-
color make-it-yourself pop-up that can be downloaded from:
http://www.unshelved.com/strips/20070513.gif

14

Up With Paper

George White
Mason, Ohio

Up With Paper is
the world's largest
marketer of pop-up
greeting cards. Best
known for its
innovative,
three-dimensional
greeting cards, Up
With Paper has been
"wowing" senders and
recipients alike for
more than 25 years
with intricate designs,
premium artwork, and
unexpected pop-ups. The widespread success that it has
had with its pop-up greeting cards led it to explore a new
outlet for its creativity, pop-up books. In September, the
company will release its first two pop-up books under its
new Jumping Jack Press imprint, Halloween at the Zoo
and Christmas at the Zoo. Industry veteran Bruce Foster
served as the chief paper engineer for both books, which
can be seen at www.jumpingjackpress.com.

Up With Paper has established a Collector's Club for
pop-up card fans that may be of interest to some members
of The Movable Book Society. In exchange for a monthly
credit card charge of $26 (including shipping and
handling; international memberships are $29/month),
Club members receive four different pop-up greeting cards
each month, featuring designs ranging from traditional to
funky, including all types of art, characters, and occasions.
Many are no longer available in stores. Additionally,
members have an opportunity to order additional cards
from the monthly selections at a 40% discount to retail.
Contact Up With Paper's Customer Service department at
(800) 852-7677 or info@upwithpaper.com to start your
membership, or for further information consult their
website at: http://www.upwithpaper.com/club.html.

Collections for Sale

Two members of The Movable Book Society are selling
books from their collections. Lindig Harris and Harry
Goralnick have large collections and are offering them for
sale to members before listing them elsewhere. Harold
would like to sell sets of books organized by series,
publisher, or paper engineer. Lindig has individual titles
for sale. Email is the best way to contact them:
Lindig@charter.net or harry@goralnick.com.

French Harlequinade from 1783

Theo Gielen

A magnificent, well-researched study of the 1783 French
harlequinade Le Serail a I 'encan (The seraglio by auction),
illustrated with pictures that show this harlequinade in all its
openings, can be seen and read at:

http://www.cesar.org.uk/cesar2/conferences/cesar_confere
nce_2006/Ri zzoni_paper06.html

': JW- far- Jull>lsvt<eJ* J&-

J'rwr ~<r t* iUt.

Le Serail a I 'encan. 1783

The study of this rare ephemeral item was done by
Nathalie Rizzoni, a researcher at the Sorbonne University in
Paris. Her study began after she was shown the book by a
friend, an antiquarian bookseller. Since the book was not in
any public collection, the bookseller loaned her the copy.
Nathalie could trace the two original theater pieces that were
performed in Paris in those days and for which this
harlequinade proved to have been the promotional give-
away. She also tells about the theater that produced this
booklet, identifies the scenes from the piece that are
illustrated in it, and gives interesting information about the
lead actresses who played the roles and were the models for
the illustrations in this publication.

Unfortunately, the copy she studied appears to have been
misbound and, since she is a specialist of 18"1 century
theater, not a book historian, she didn't have any knowledge
of harlequinades. As a result, she couldn't reconstruct the
original binding and the principle of the harlequinade that
has the four sheets unfolding side by side. Her study has to
be appreciated even more since she came to the conclusion
that there must be something wrong with the copy she was
viewing!

Have a look and see if you, as a specialist in the field of
movable books, can reconstruct the original layout of this
harlequinade.

15

New Publications

The following titles have been identified from pre-
publication catalogs, Internet sources, book store hunting,
and advertising. All titles include pop-ups unless
otherwise noted and are listed for information only - not
necessarily as recommendations for purchase.

76 Pumpkin Lane: Pop-up Spooky House. September.
£14.99. Hodder Children's Books. 978-0340930748.

600 Black Spots: A Pop-up
Book for Children of All Ages.
By David Carter. September.
$19.99. 978-1-4169-4092-0.

Animal Babies A to Z. By
Chuck Murphy. Piggy Toes.
$14.95.978-1581176520.

600
Black
Spots

i

Christmas Around the World: A Pop-Up Book. By
Chuck Fischer. October Little, Brown and Company.
$30.00.978-0316117951.

Christmas at the Zoo.
October. $16.95. Jumping
Jack. 978-0-979-5441-0-1.
Also: Halloween at the Zoo.
978-0-979-5441-0-1.

Christmas is Coming.

[wheels] September. Robin

Corey Books. $6.99. 978-0375845734

Corythosaurus. Dinosaur Romp, [pop-ups and 1
removable mask]. Silver Castle. $4.95. 15545-372-4.
Also: Pteranodon. 15545-372-4.
Triceratops. 1 5545-373- 1 .
Tyrannosaurus Rex. 15545-374-8.

Deep Blue Sea. DK.
$12.99. 9780756629953.

Dino Pop-Up Faces. Piggy
Toes. $12.95.
978-1581175967

Disney Princess: The
Enchanted Castle Pop-up.
September. Disney Press.
$12.95.9781423109129.

Disney 's Little Mermaid: Ariel 's Song: A Pop-up Story.
Disney. £5.99. Parragon Book Service.
978-1405483254.

Also: Disney's The Lion King: Simba 's Lesson: A Pop-
up Story. Disney. 978-1405483247.

Dragon World: A Pop-Up Guide to These Scaled Beasts.
By Keith Moseley. October. $15.95. Abrams Books for
Young Readers. 978-0810994560.

Even More Outrageous Pop-up
Celebrity Meltdowns. Kees
Moerbeek. October. DK Adult.
$29.95. 978-1595910349.

Fairies in Flight. Disney.
Random House. $9.99.
978-0736424684

First Christmas.. September. DK. $19.99.
9780756631475.

Frank Gehry in Pop-up.
September. Thunder Bay.
$26.95. 978-1592237906.

Gallop! A Scanimation
Picture Book, [kinetoscope]
September. Workman.
$12.95. 978-0761147633.

Gigi, God 's Little Princess:
Pop-up Purse. October. Thomas Nelson. $10.99.
9781400311019.

Gigi: God 's Little Princess:
Pop-up Tea Party. October.
Thomas Nelson. $12.95.
978-1400311026

Hee Haw Horsie. Barnyard Fun.

[pop-up and 1 removable mask].

Silver Castle. $4.95. 978-1-

55454-377-9.
Also: Moo Cow. 978-1-55454-375-5.
QuackyDuck. 978-1-55454-376-2.
OinkyPig. 978-1-55454-378-6.

Hindu Altars: A Pop-up Gallery of Traditional Art and
Wisdom. October. New
World Library. $23.95.
978-1577315797.

How Many? By Ron van
der Meer. September. Robin
Corey Books. $24.99.
978-0375842269.

Ctoflie- tola's

I Will Never
NOT EVER

%

16

I Love You Even If: A Pop-up Book. CDNS 13.95. Piggy
Toes Press. 978-1581175578.

My Mermaid Princess Palace: a Pop-up Book. September.
Alison Green Books. 978-0439950275.

/ Will Never Not Ever Eat a Tomato - Pop-up.
September. £12.99. Orchard. 978-1846165160. Also:
$18.99. Candlewick. 978-0763637088.

Imagine Me Barnyard Fun. [pop-ups and 4 removable
masks ]. Silver Castle. $10.95. 978-1554542932.
Also: Imagine Me Jungle Roar! 978-1554542956.
Imagine Me Dinosaur Romp! 978-1554542925.
Imagine Me Fun at Sea. 978-55454-295-6.

A ROJUUMG, MOAUma/UOSf

Journey to the Moon. October.
$26.99. Little Simon.

978140274528.

Let's Make Noise At the
Airport. Silver Dolphin Books.
$12.95. 978-159223-641-1.

The Lost Treasure of the
Mummy's Tomb. Little Tiger, 2007. £8.99.
9781845065553.

Lovable Lion. Jungle Roar, [pop-ups and 1 removable

mask] $4.95. Silver

Castle. 1-5545-382-3.

Also: Terrific Toucan.

1-5545-381-6.

Jolly Giraffe.

1-5545-380-9.

Rowdy Rhino.

1-5545-379-3.

i A Magnificent
K& Mouse Pop-Up

A Magnificent Mouse
Pop-up. Disney.
$15.99.
978-1423104773.

Maisy 's Presents. A Maisy Mini Pop-up Book. October.

Walker Childrens.
£4.99. 1406309281.

My Fairy Bridesmaid
Castle. Macmillan
Children's Books
Price: £14.99.
978-1405090315.

My Mommy 's Tote. September.
$16.95. Workman.
978-0-7611-4767-1.

My Very Own Dredel: A Pop-up
Hanukah Celebration! September.
Piggy Toes Press. 978-1581175929

Mythology. Dorking, Templar, September. £17.99.
9781840118933.

Nighttime. Sounds of the Wild. October. Silver
Dolphin.$16.95. 978-1592234714.
Also: Templar. £12.99. 978-18401 18797.
Also: Ocean. Templar. £12.99. 978-1840118841.

Now It's Fall! [tabs] Little Simon.
$9.99.978-1416909347.

The Nutcracker Ballet: A Book,
Theater, and Paper Doll Fold-out
Play Set. September. Peter
Pauper. $14.99. 978-1593598853.

The Old Tree. September. Walker
Books. £9.99. 978-1406302417.

4™OLD^f

%

Pirate Ship. History in
Action, [interactive kit].
Silver Dolphin. $18.95.
978-159223-663-3.
Also: Medieval Castle.
978-159223-665-7.

Pixie Hollow Pop-up.
October. Disney Press.
$19.99.
978-1423106159.

The Pompeii Pop-up. By David Hawcock. October.
$29.95. Universe. 978-0789315694.

Popigami. By Jim Diaz. Piggy Toes. $21.95.
978-1581176414.

Pop-up and Play Spooky Shadows. Barron's Educational
Series. $9.99. 978-0764160820.

17

Richard Scarry's *»

POP-UP

-if.

■■i

7dA - Mi J

P^lp*

Po/7 iTp Shopping, [game]
DK Publishing. $12.99.
978-0-7566-3101-7.

Richard Scarry 's Busiest
Pop-up Ever! Golden
Books. $19.99.
9780375841200.

TITANIC

INCLUDING
MAGNIFICENT
POP-UP SHIP

Titanic. October. $29.95.
Candlewick. 978-0763634681.

Trail: Paper Poetry. A Classic
Collectible Pop-up. By David
Pelham. October. Little Simon.
$26.99. 978-1416948940.

Ssssh! Duck Don't Wake the Baby. September.
HarperCollins Children's. £10.99. 9780007243556.

Silly Seagull. Seaside Splash. Silver Castle, [pop-ups
and 1 removable mask] $4.94. 978-155454-383-0.
Also: Slippery Seal. 978-155454-384-7.
Sneaky Shark. 978-155454-385-4.
Tricky Turtle. 978-155454-386-1.

Spot 's Playtime Pop-up Book.
Frederick Warne. £9.99. ISBN:

9780723259145.

Star Wars: A Pop-up Guide to
the Galaxy. By Matthew
Reinhart. October. Orchard
Books. $32.99.
978-0439882828.

The Story of Little
Mole Who Knew it
was None of His
Business. October.
An ova Childrens
Books. CDN$ 21.02.
1843650959.

The Story of the Little Mole

who knew it was None o' his Business

Transformers Mix & Match.
Reader's Digest. $14.99.
978-0794412869.

Vampyre: The Terrifying
Lost Journal of Dr.
Cornelius Van Helsing.
[tabs, letters] $19.99. 978-
0061247804.

What's in the Garden?

[wheel] Silver Dolphin

Books. $12.95.

9781592235377. Also: What's in the Ocean?

978-1592235353.

mil t match

The Wild West Pop-up Book.
September. Sterling. $24.95.
978-1402746284.

Women: A Celebration of
Strength. Legal Momentum.
$49.95. 978-0979323508.

Superhero Foods. £5.99.
Egmont Books. 1405232900.

*"▼ j?

X-Men Pop-Up: Marvel True
Believers Retro Collection. $24.99.
Candlewick. 978-0763634629.

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